“I don't think I would've been performing this long if I didn't love it sincerely to the degree that I do. It's not enough to like it. Dilettantes like things. Professionals love things and I consider myself a professional.”
“I just refuse to date actors. I've done that, and I don't want to do that anymore. It's just the stress of traveling and being away from each other so much.”
“I was 17 when I auditioned for 'Miss Saigon.' I really grew up doing that show. I pretty much knew, almost a year into 'Miss Saigon,' that I was going to be a performer, that I was going to be singing and acting.”
“When I'm doing a one-on-one with somebody, I have to speak in a language that that person can understand, using a vocabulary that they instantly get, and I always have to feel my way around to figure that out. It's a lot of fun, and it's also really challenging - challenging in a different way from performing.”
“I would love to do some straight drama. A lot of times it's not up to the actor, it's up to the producer. It's up to the powers that be.”
“I took some voice lessons here and there as a teenager but nothing too serious. I started taking it more seriously when I was in Miss Saigon. I needed to improve my technique in order to survive doing that show as many time a week as I was doing it. It's not an easy show to sing, so I needed all the help I could get.”
“In the modern operas that 'Miss Saigon' and 'Les Miz' are, nobody breaks out into song from conventional book dialogue. Everything is sung from beginning to end, including the recitative.”
“The thing about Sondheim is that it does get very cerebral. You do need a faculty with words and a love for the lyrics to not just pull it off, but to have an appreciation for it.”
“'Allegiance' is pretty much a book musical. You know, people talk and then they burst out into song.”
“There are a lot of actors who wish there was a next play, a next musical. As an actor, I guess that's all I can wish for - the next role, the next opportunity.”